International Socialism always sought to expand its territory by pitting every conceivable faction of the existing culture against eachother, thus paving the way for a revolution through eruption of civil war.
It was to be the employer against the employee, man against woman, gay against straight, black against white, students against professors, pupils against teachers, young against the old. And when fighting finally broke out, the communist faction - who knew all along - used to come out victorious.
A much overlooked phenomena in this tactic is the deliberate destruction of the traditional culture and artforms present in the host society, and how this has been used in the efforts to aid the advent of the civil war usually preceding the actual "Revolution".
The strategic consequenses of nuclear weapons however, neccesitated a general weakening of the target society in order to ensure the operations wouldn´t backfire. Kremlin was terrified of how the Americans settled the war with japan, and must have preferred a strategy of "softening up" the enemy through all kinds of misinformation drugs and the spread of hedonism as a prelude to revolt in order to benefit russian homeland security.You wanted the your enemy frustrated, depatriotized, confused, distracted and occupied with useless things, such as sex and intellectual mazes bordering on verbal masturbation.
The communists knew how important it was to infiltrate artists and intellectuals in order to create the wanted effects on the host culture, and gained much success by placing agitative socialist-minded intellectuals in the pubs of the main cities, preying on artists under the influence of alcohol and other drugs weakening their strenght of mind. As soon as an artist or intellectual was deemed succesfully convinced by socialist revolutionary ideas, he would suddenly be published or granted exibitions at important galleries and get rave reviews by socialist critics, well seated in leading newspapers - always to the surprise of an appalled but curious bourgeoisie.
Amazing that hardly anyone has looked for an explanation as to why 20th century art took the form of "the Shock of the New", "provocation" and "avant-garde" - a french word best translated by the term "progressivism". The answer seems rather obvious if one is aware of the agendas of the enemies of the open society
These agitators were especially succesful in Paris already from the 30s and onward and fused very early with french hedonist existentialism, later morphing into some of the most hilarious kinds of misinformation campaigns parading as "high-brow" philosophy, by the likes of Derrida, Lacan and Foucault.
In order to illustrate this point I have chosen two works of art - one is made by the highly praised Hermann Nitsch often labelled as one of the founders of modern "performance art", and a leading figure in Viennese Actionism - of course obligatory in any art-school curriculum. It is supposed to depict how Jesus came into flesh - hence the saying title "Maria Conception - Orgia Mistério"
The second clip is an excerpt of Tarkovskijs film Andrei Rublev. In which the painter contemplates the role of Judas and the omnipotence of christ.
Both are from 1969, the first one is made by socialists in capitalist Austria - a center of modern economic theory and real philosophy in the tradition of geniouses such as Franz Brentano and Ludwig von Mises - an obvious target of "active measures".
The film illustrates quite well how subversive socialism uses behaviourist techniques known from Pavlovs later studies of expermentally induced neurosis. In his last years Pavlov worked intensely on this subject and found out that by creating conflicts between conditioned and unconditioned responses, and the sudden swapping of punishment and reward he could actually make dogs sink into deep depressions or madness. Although Hermann Nitsch probably never thought about this, it was excactly what lied beneath the surface of the revolutionary mindset.
The below film uses sex, lust and nudity generating unconditioned responses of excitement and arousal, while at the same time applying stimuli and symbolisms from the christian faith, generating conditioned responses which are in conflict with the hedonist and sadist aspects of the experience. This is then all garnered with the use of intestinesand blood to disgust the viewer, leaving him unable to come to terms with his own feelings. For more on this see prior post on Beyond Torture and The Anti-Humans. and the Genocide of Souls
The second clip is made in "after the revolution" by Andrei Tarkovsky and shows the icon painter Andrei Rublev in deep meditation on the role of Judas and the omnipotense of Christ.
It contains a wholly different approach to history and culture, begging the question: Why this discrepancy between socialist art at home and abroad, if not a deliberate attempt to destroy the host culture and replace it with confused revolt and sheer madness?
Is the "Orgia" of the 60s and 70s really that "Mistério"?
Upon watching these early socialist blasphemous films, the hypocrisy of the new-found "religious sensitivity" of the left becomes so obvious, that it is impossible to attribute to their stupidity. They are surely following a revolutionary agenda, which demands the fall of capitalism. And apparently they will go to any lengths in order to secure the presence of their islamic mercenaries, and this is the true reason they don´t mind seeming so utterly hipocritical. Luckily, much like the afghan heroin producers, the left has become hooked on the poisonous hedonism originally intended for the bourgouirsie, and will be absolutely worthless when push comes to shove, which should make our job somewhat easier. At times I even ponder some higher justice, behind the fact that the radical muslims are in fact ridding us of the vermin left at an incredible speed.
Socialist "Art" dealing with christianity in Bourgeois Society 1969
Hermann Nitsch: Maria Conception - Orgia Mistério - WARNING - OBSCENE!
Socialist Art dealing with Christianity in Socialist Russia 1969